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How to shoot stylized beauty portraits with just one light and a reflector

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Keeping the amount of kit you use at a low level can sometimes be down to simply a lack of availability. But it could also be that you’re simply limited in what you’re able to carry with you to shoot at a client’s location. Or, maybe you just want to bring things right back down to the bare minimum to really understand light and how your gear works.

Whatever the reason, Lindsay Adler is here to help. Using just a single strobe with a big softbox and a big reflector (in this case, a white v-flat) she creates a very effective and dramatic portrait. That’s the key word here, though. Big. Big light sources produce beautiful light for portraits as Lindsay demonstrates in this shot breakdown.

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Shooting portraits in the studio with continuous lights isn’t as intimidating as you think

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Light is key to photography. Of that there is no doubt. But typically when we shoot portraits, particularly in the studio, many of us will opt for strobes. They’re tried and tested, they give us plenty of light and you can stick some huge modifiers on them. But it’s absolutely possible to shoot portraits with continuous light, too.

Making the switch from strobes to continuous, can feel a little daunting, though. But in this video, photographer Emily Teague dumps her strobes and switches over to an array of continuous lights to shoot some portraits in her home studio to show that it’s really not all that difficult. After all, light is light.

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$33,000 Hasselblad vs iPhone comparison shows the importance of lighting over camera

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We often see the “expensive camera vs smartphone” comparisons, but they’re not typically performed with this level of attention to detail. Especially when it comes to the lighting. But if you’re photographer Karl Taylor, the lighting is very important, especially when it comes to comparing images from one camera to another.

Karl recently photographed a custom Harley Davidson motorcycle in his studio using his 100-megapixel Hasselblad H6D-100c medium format camera. But with the lights already set up, he decided to give it a try with the iPhone, too, to see just how similar the images could look.

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Hard vs soft light – 5 portrait lighting setups broken down to show you when to use each

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When shooting portraits, the difference between hard and soft light on your subject makes a massive difference to the final result. There are so many ways we can use both, and when it comes to photographing people, the challenges of hard light can be particularly tricky to work around. But knowing when to use each allows you to make better creative decisions.

In this video, John Gress walks us through five different lighting setups using both hard and soft light to see how they come together and how the different quality of the light affects your subject and how it makes the final image look. You may even want to mix the two from time to time.

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What the heck is an optical snoot and how do you use one?

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There are two different types of snoot out there when it comes to flashes. You’ve got your regular snoots, which essentially act like a cylindrical flag around your light that blocks off any light not travelling directly ahead. Then you’ve got optical snoots, which incorporate some kind of lens, letting you project the light.

In this video, photographer David Bergman shows off how both types of snoot work but with the main focus being on optical snoots, using the Light Blaster – a popular optical snoot designed primarily for speedlights but that can also be adapted to studio strobes.

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Godox sets its sights on high end flash with the new P2400 pack & head system

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Godox has announced their new P2400 pack and head system. It’s the most powerful strobe system they’ve produced to date, which Godox describes as “a giant leap in the Godox innovation history”. And it sure does look the part, with Godox’s sights obviously set on brands like Profoto and Broncolor.

As with most of the other strobes in the Godox lineup, the H2400P heads to go with the pack are Bowens mount and feature a 60W LED modelling lamp (equivalent to a 300W halogen lamp). The flash power offers up to 10-stops of control (it goes all the way down to 1/512th power) in 1/10th stop increments. It’s also compatible with both of Godox’s 2.4Ghz and 433Mhz trigger systems.

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Here’s why you should upgrade your speedlight to a studio strobe

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I’d argue that nearly all of us owned a speedlight at some point before we owned a studio strobe. When we’re looking to dip our toes into supplemental lighting, strobes seem like a big investment. It just makes sense to pick up a cheap speedlight to play with right?

Like many others, I did the same thing. I bought a cheap speedlight (that was ultimately pretty crappy), then I got a proper one, but I was still unhappy, whereupon I quickly bought a strobe. I immediately wished I’d done it sooner. Here’s why.

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Five portrait lighting patterns you need to learn

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It seems that there are always things we “need” to learn when it comes to shooting certain genres of photography. And while many of them for a lot of genres do boil down to personal taste, when it comes to portraits, there are some things that you need to know and understand, like lighting techniques – even if you don’t use all of them all of the time.

In this video, photographer Hannah Couzens shows us five different popular portrait lighting styles that every portrait photographer should really know and understand. She also demonstrates them using both hard and soft light, so that you can see how the light actually hits the subject and how to make it more visually pleasing.

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How to recreate natural window light with strobes for food photography

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Many photographers love using natural window light, and I must admit I’m one of them. But when the weather just isn’t cooperating, you have to rely on artificial lighting. Still, you can recreate that window light that you like, and in this video, Barry Mountford shows you how.

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How to shoot easy white backgrounds for either products or portraits

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It’s one of the oldest and most fundamental techniques when it comes to shooting both portraits and product photography in the studio. But it’s also one of the most misunderstood and difficult to grasp for a lot of newer photographers. Yes, that’s right, I’m talking about the ubiquitous white background shot.

In this video, Rob Hall walks us through the process of getting two white backgrounds. The first demonstration is in a portrait setting, showing how the background is lit vs the subject and how to prevent the background from flaring into the lens. In the second, Rob sets up a small product shot using a light table. Both are lit quite differently but achieve the same result.

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